On June 11th, 2025 the strike led by Hollywood actors against the use of generative artificial intelligence in movies finally ended, after eleven months of negotiations. Similarly, in 2023, a wide strike organized by the writers, then followed a few weeks after by actors, to request better residuals rights on their work and, overall, to renegotiate preexisting agreements. Strikes of that kind, pushed forward by guilds and syndicates, are frequent and have a certain impact on the evolution of work conditions for their members.

In the United States, the majority of American actors are members of a syndicate called the Screen Actors Guild (SAG-AFTRA). It allows them to benefit from better work conditions and better remuneration, negotiated and framed by the SAG, and to assert their rights. A similar organization exists for directors, regrouped under the Directors Guild of America (DGA), and the writers, called the Writers Guild of America (WGA).

But what are the consequences for producers wanting to hire guild members? Indeed, the guilds strictly frame their members’ participation, and it is therefore necessary to delve into the regulations that have been created for this purpose. 

Principle

The three Guilds have the same core principle: members are forbidden to participate to non-unions productions (i.e. those who have not agreed to the basic agreements negotiated by the unions). This interdiction is strict and members who breach it are severely punished: for example, the WGA writers can be fined up to $2,000 and face disciplinary action.

Therefore, the solution to hiring a syndicate member is simply to comply with those agreements, by becoming a Guild Signatory. This will free producers from non-union status and show that they are following the conditions negotiated by the union.

Becoming signatory

This is a free process that allows a producer to enter a contract with the union, confirming that they will respect the basic agreements in the employment contract with the hired member. For example, to hire a SAG performer, you need to become a SAG signatory, and so on. To do so, it is required to fill in a form available on each Guild’s website, along with the required documents. It should be noted that the form may differ depending on the budget and type of production: for example, the DGA classifies theatrical films in eight levels according to budget, or documentaries intended to be released in cinemas, having a budget below or over $11 million, and those intended for television. You must be careful to fill in the appropriate form.

About the deadlines, the DGA advises sending the form no later than four weeks before filming begins. Deadlines are similar for the SAG form, which should reach them four to six weeks before the performer’s first day of work. Overall, it is recommended to send it early enough to avoid delays in production, especially as no Guild member will start work before the obtention of the Signatory status.

The consequences

By becoming a Signatory, the producer undertakes to respect the working conditions negotiated by the syndicate in its minimal agreements – especially as some agreements set a minimum remuneration, sometimes negotiable for small budgets, with which the producer must comply. For example, to hire a WGA writer for a low-budget feature-length theatrical movie to write the original screenplay, including treatment, the minimum remuneration is a fixed compensation of $90,904 and a contingent compensation of 1,2% of the net profits.

Each syndicate provides rate sheets (or rate cards), that set out all the possible cases for hiring a union member, as well as, in some cases, the minimum deadlines of the payment schedule for each sum. If we take again the example of the WGA writer of a low-budget feature-length theatrical movie, $41,188 must be paid on delivery of original treatment, then $35,796 on delivery of the first draft of the screenplay and, finally, $13,920 on delivery of the second draft of the screenplay. The producer must make its best efforts to pay the writer between 48 hours of delivery and at the maximum 7 days after. The rate sheets also specify minimum additional fees, such as $29,826 for the rewrite of screenplay or $14,924 for its polish.

This also includes working conditions. The DGA director of a theatrical feature, for example, must be consulted on all creative decisions, including script changes, have their own office, attend castings, and so on. Because of the Signatory contract between the producer and the Guild, the director is guaranteed to be involved in the making of the film, from casting to final editing. In case of a dispute with the producer, the director can be represented by a Guild member to assert his rights or renegotiate the terms and conditions of his employment contract.

The SAG also provides other compensation, including a meal allowance of $60 per day when meals are not directly furnished by the director and during overnight shooting, as well as the complete payment of transportation fees when the performer has to travel at the producer’s request.

Work with a non-union member while being a Signatory

At the SAG, once a producer obtains the Signatory status, he undertakes to only employ union members as performers. This can be problematic, especially for international productions. Therefore, the SAG provides a waiver: the producer can fill in a form named Taft-Hartley, which allows him to indicate to the SAG that he’s hiring a non-SAG actor and request the Guild’s approval to do so. It is also needed to justify the reason why a SAG actor is not being hired for the position instead of the non-union member. It is easier to obtain the approval when the role of the non-SAG performers is in another language than English, or when it has cultural requirements. A separate form must be completed for each non-union performer and sent to the SAG two weeks before the performer’s first day of work. However, it is advised to do this earlier, to limit the consequences that a refusal could entail, although SAG’s examination only begins once all the final production papers have been received by SAG. It is also possible to directly insert an article in financial contracts, reserving the film’s characteristics to the SAG approval, or conversely to the SAG casting.

Regulations related to agents

When it comes to agents and other representatives, Guild members can only be represented by franchised agencies, a list of which is available on the website. The signatory process is more or less the same as for producers, except that at least one year of experience is required. Otherwise, agencies must simply fill the franchise form and wait for the guild to validate the application.

As with producers, by becoming a signatory, agencies agree to abide by the rules and conditions negotiated by the union. In particular, the agent’s commission must not exceed 10% of the member’s remuneration.

Regardless, whether you’re a producer or an agent, if you’re thinking of hiring or representing a performer, writer or director who is a union member, it may be wise to seek the advice of a specialized attorney to ensure that you are accompanied or represented in this process.

Links to the Signatories Form:

SAG-Aftra: https://www.sagaftra.org/production-center

DGA: https://www.dga.org/Employers/BecomingSignatory

WGA: https://www.wga.org/employers/signatories/become-a-signatory